This paper presents a developing Pitch Error Coding Protocol for assessing the accuracy of a musician’s performance. The protocol organized performance errors into any of three main categories, each based on an established cognitive theory of music memory and processing: (1) the Serial Distance Hypothesis (SDH); (2) the Implication Realization (I-R) model; and (3) the mental organizing principle of the Schema Theory (SCH). An elite oboist formed the basis of a detailed case study where his sight reading, practice, and performance of a challenging excerpt of music were examined. These data were used to: 1) investigate the protocol; 2) ask whether any protocol components could explain errors better than others; 3) and show where improvements after practice occurred. The results revealed that the SDH accounted for the majority of pitch errors, these originated in a three-note proximity of the target and some SDH errors overlapped with the I-R category errors. Although final counts for SDH and I-R are similar, SDH uniquely identified errors more frequently than the I-R. Future research and development of the protocol might look at combinations of pieces and performer to determine whether SDH may be a dominant source of error.
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December 2016
Research Article|
December 01 2016
Pitch Error Coding the Sight Read, Practice, and Performance of an Elite Oboist: Developing a Protocol Based on the Serial Distance Hypothesis, Implication-Realization Model, and Schema Theory
Deborah L. E. de Graaff,
The University of Sydney, The Sydney Conservatorium of Music, Sydney, Australia
Deborah L. E. de Graaff, The University of Sydney, The Sydney Conservatorium of Music, Sydney NSW 2000, Australia. E-mail: [email protected] or Emery Schubert, Empirical Musicology Laboratory, School of the Arts and Media, University of New South Wales, Sydney NSW 2052, Australia. E-mail: [email protected]
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Emery Schubert
University of South Wales, Sydney, Australia
Deborah L. E. de Graaff, The University of Sydney, The Sydney Conservatorium of Music, Sydney NSW 2000, Australia. E-mail: [email protected] or Emery Schubert, Empirical Musicology Laboratory, School of the Arts and Media, University of New South Wales, Sydney NSW 2052, Australia. E-mail: [email protected]
Search for other works by this author on:
Deborah L. E. de Graaff, The University of Sydney, The Sydney Conservatorium of Music, Sydney NSW 2000, Australia. E-mail: [email protected] or Emery Schubert, Empirical Musicology Laboratory, School of the Arts and Media, University of New South Wales, Sydney NSW 2052, Australia. E-mail: [email protected]
Music Perception (2016) 34 (2): 132–151.
Article history
Received:
September 28 2014
Accepted:
January 02 2016
Citation
Deborah L. E. de Graaff, Emery Schubert; Pitch Error Coding the Sight Read, Practice, and Performance of an Elite Oboist: Developing a Protocol Based on the Serial Distance Hypothesis, Implication-Realization Model, and Schema Theory. Music Perception 1 December 2016; 34 (2): 132–151. doi: https://doi.org/10.1525/mp.2016.34.2.132
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University of California Press